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Episode #VS705
Crossing Jordan Virtual Season 7
“Yours Truly”
Written by
bourbon and mecedeme
Art by
Harbor Runner
“Crossing Jordan Virtual Season 7” is a
fan-based effort not intended to infringe on the rights of Tailwind Productions,
NBC/Universal or any of the other copyright holders of “Crossing Jordan.”
No money was made from the writing or posting of any content.
DRAMATIS PERSONAE
Jordan Cavanaugh
Woody Hoyt
Garret Macy
Nigel Townsend
Kate Switzer
Mahesh “Bug” Vijayaraghavensatanaryanamurthy
Lily Lebowski
Matt Seely
Sidney Wilkes
Bartender
Simon
Donald Pegg
C.I.D. Inspector
A London bobby
Landlord
William Dupree
SET LIST
INTERIORS
THE MORGUE
GARRET’S OFFICE
CONFERENCE ROOM
HALLWAY
BREAK ROOM
AUTOPSY ONE
TRACE
PASSENGER ELEVATOR
FREIGHT ELEVATOR
JORDAN’S APARTMENT
AIRPLANE CABIN
CROWN AND ANCHOR PUB
SAUCY JACK PUB
WOODY and NIGEL’S HOTEL ROOM
LONDON POLICE STATION
EXTERIORS
BOSTON SKYLINE
LONDON SKYLINE
CROWN & ANCHOR PUB
SAUCY JACK PUB
CHRIST CHURCH SPITALFIELDS
VARIOUS WHITECHAPEL STREETS
AN EAST END STREET
LONDON HOTEL
LOGAN AIRPORT
MORGUE BUILDING
TEASER
1.EXT. BOSTON SKY – NIGHT
Close-up on the moon, almost full. Its light gives the sky a strange blue cast,
and wispy clouds drift across. We hear the familiar theme tune of the movie
"Halloween." In the background are the faint sounds of screaming and
moaning. The camera pulls away from the moon, down and in through the window
into:
2. INT. JORDAN'S APARTMENT – NIGHT
We see JORDAN and WOODY sitting on the sofa watching "Halloween."
Their faces are lit up by the glow of the TV set. JORDAN is leaning forward,
clearly enjoying this, and eating from a big bowl of popcorn. WOODY is seated
next to her. He has drawn himself into the corner of the sofa and is, probably
unaware of it, clutching a throw pillow against himself.
| JORDAN |
| Here it comes. This is the best part… |
There is a beat, while they wait for it, and then:
| WOODY |
| AAAAAAGGGGGGGH! No, she didn't! |
| WOODY |
| Oh, I so did not need to see that. Can a coat hanger really do that much
damage? |
JORDAN
(a bit gleefully) |
| Under the right circumstances, yeah. The eyeball is 90% liquid. If you
puncture the vitreous matter just the right way, the whole eye will… |
| WOODY |
| Okay, okay! That was a "yes" or "no" question. |
The scary "Halloween" music cuts abruptly to a cheerful jingle for kids'
breakfast cereal. JORDAN grabs the remote and puts it on mute. She looks over
at WOODY, who still has a look of shock on his face.
| JORDAN |
| I can't believe you've never seen "Halloween." |
| WOODY |
| Horror movies give me nightmares. That and clowns. |
She smiles at him enticingly and leans in towards him.
| JORDAN |
| Gee, that's too bad, because I've got this wild "Bozo the Clown"
fantasy… |
He smiles back, raises an eyebrow and leans over for a kiss. Beat.
| WOODY (cont’d) |
| I like this. This is nice. |
JORDAN
(teasing) |
| The movie or the clown thing? |
| WOODY |
| This! Just hanging out with you on a Friday night. We've been running
around like crazy lately. The crash, Agent Shiny Shoes, our first date… |
They cringe a little at the memory.
| JORDAN |
| …Kewaunee and back. Yeah, I feel like I haven't had time to breathe.
|
| WOODY |
| I just want to stay put for awhile. Get in some "alone time." |
They snuggle up together, nuzzling each other, wondering just what "alone
time" might hold when we hear the sharp intrusion of WOODY'S cell phone.
They groan as WOODY takes the phone off his clip. He looks at it and frowns.
| JORDAN (cont’d) |
| Who is it? |
WOODY
(puzzled) |
| Washington… |
WOODY answers phone.
| WOODY (cont'd) |
| This is Hoyt… |
His posture suddenly changes. He sits up straight, and his eyes widen.
| WOODY (cont'd) |
| Yes, sir…Yes, sir…Absolutely. Tomorrow?...No, of
course not, sir. I understand…As a matter of fact, she's here with
me. We're…going over some paperwork…Yes, sir. I'll tell her.
Goodbye, sir. |
He hangs up the phone and exhales heavily. She looks at him expectantly, and he
gives her a sheepish half-smile.
3. INT. AIRPLANE – NIGHT
WOODY and JORDAN are seated side by side, looking not entirely thrilled to
be there. Across the aisle is NIGEL, looking quite a bit more excited than they
are. Standing in the aisle handing out a report to each of them is KATE, whose
excitement level is somewhere between the two.
| KATE |
| Two of the terrorists on the Venezia spent time in London over
the last year, and the British government needs our cooperation in determining
whether there are any links to suspected cells in the UK. We have a meeting
with representatives from the Home Office on Monday morning, and they'll
want a briefing on everything we've got. Forensics, autopsy, crime scene.
You name it. |
| JORDAN |
| We couldn't have done this by fax? |
| KATE |
| I'm not any happier about this than you are, Jordan, but looks like we
drew the short straws. Forty-eight hours. We'll be in and out. |
KATE takes a seat next to NIGEL.
| NIGEL |
| How can you not be happy about going to London? Soho, Carnaby Street,
Piccadilly Circus… |
KATE takes a sleep mask out of her bag and pulls it down over her eyes.
| KATE |
| Do you have any idea how hard it was to get Binky into a kennel at such
short notice? |
Suddenly, KATE frantically pulls her sleep mask off. She rummages in her pocket
and pulls out a bottle. Xanax. It's full. She smiles with relief, tucking the
pills back into her pocket and pulling the sleep mask back down.
CUT TO:
| WOODY |
| Maybe this won't be so bad. It might be kind of romantic. London –
the city of lights. |
| WOODY |
| Work with me, here, Jordan. I'm just saying…we should make the best
of it. |
JORDAN
(mulling it over a bit) |
| No reason why we can't get some "alone time" in London, right?
Yeah, this could be good. |
They smile to themselves, not entirely convincingly, as the plane speeds down
the runway. All four grip their armrests.
END OF TEASER
ACT 1
4 . EXT. LONDON SKYLINE – NIGHT
We see nighttime shots of various London landmarks. Big Ben, the London Eye,
Tower Bridge, Piccadilly Circus.
CUT TO:
5. EXT. CROWN AND ANCHOR PUB – NIGHT
CUT TO:
6. INT. CROWN AND ANCHOR PUB – NIGHT
NIGEL, KATE, WOODY and JORDAN are sitting in a typical English Victorian style
pub. Flocked wallpaper, wood paneling, old brass fixtures. KATE, WOODY, and
JORDAN are looking, with great distaste, at their menus. NIGEL is decidedly
more enthusiastic.
| JORDAN |
| "Bangers and mash." Do I even want to know? |
| KATE |
| Is there anything on this menu not made from sheep's entrails? |
NIGEL
(helpfully) |
| Shepherd's pie. |
WOODY
(snickering) |
| Let me guess…it's made from shepherd's entrails. |
| NIGEL |
| Come on, Woody. Where's your spirit of gastronomic adventure? |
| WOODY |
| I'm sorry, but I just don't think I want to put anything in my mouth called
"spotted dick." |
NIGEL
(nostalgically) |
| Mmmm. What I wouldn't give for some of my mum's spotted dick right now. |
| KATE |
| Okay, glossing right over that comment… |
| NIGEL |
| It's a custard pudding with raisins! And thank you very much for making
one of my fondest childhood memories sound pervy. |
| KATE |
| Because it wouldn't have been the name or anything. |
| JORDAN |
| I think I'll just stick with fish and chips. At least I'll be relatively
sure of what I'm eating. |
KATE and NIGEL mumble in agreement and fold their menus. NIGEL rubs his hands
together gleefully.
| NIGEL |
| So, what are the plans? Our first night in London…"All Hallow's
Eve"... I know a great little club in Soho. Or, better yet –
I heard about a midnight walk that leaves from a pub in the East End called
"The Saucy Jack." Perfect for the season! An expert guide leads
you through the darkened, deserted streets of Whitechapel to all the sites
where Jack the Ripper slaughtered his victims! |
| JORDAN |
| And there goes my appetite. |
| KATE |
| Don't look at me. After dinner, I'm going next door to the hotel. All
I want to be guided to is my bed. |
WOODY and JORDAN trade uncomfortable looks.
| JORDAN |
| Well…after dinner, we'd kind of planned to get tickets for the London
Eye. See the city at night… |
| WOODY |
| Yeah, they have a package deal where you can get private gondola and a
bottle of champagne. |
WOODY and JORDAN share a surreptitious smile.
| NIGEL |
| Perfect! The ride only takes half an hour. We can do that and still be
in the East End by midnight! |
| WOODY |
| Well, Nigel, we, uh, were kind of looking for… |
He's going to say "alone time," but not wanting to hurt NIGEL's feelings,
JORDAN interrupts.
| JORDAN |
| We were kind of looking for an early night. You know…it's been a
long day, jetlag. |
WOODY
(getting it) |
| Yeah. And we've got that meeting tomorrow at the Home Office. We should
probably just turn in. |
NIGEL
(hurt) |
| Oh. Right. Well nevermind. Just a thought. |
| JORDAN |
| Maybe tomorrow night. |
| NIGEL |
| No, forget it. It was a stupid idea, anyway. |
There's a brief silence while NIGEL sulks.
| JORDAN |
| You all right, Nige? |
| NIGEL |
| Well, it's just…this is my home. I know it like the back of my hand.
Woody – I seem to recall you dragging me to my first Bruins game.
And you, Jordan, forcing me to drink green beer at that St. Patrick's Day
Parade one year. This is my home. |
Beat.
| KATE |
| Oh, what the hell. I've already been up for 24 hours. What's a few more? |
| NIGEL |
| Brilliant! How about you two? |
WOODY
(reluctantly) |
| Sure. Why not? |
JORDAN
(without much enthusiasm) |
| "Saucy Jack" here we come. |
7. EXT. SAUCY JACK PUB – NIGHT
Establishing shot of "The Saucy Jack," what looks to be a perfectly
pleasant English pub.
8. INT. SAUCY JACK PUB – NIGHT
Inside? Not so pleasant. The walls have been painted a crimson red and have
also been decorated with "Jack the Ripper" memorabilia: newspaper
clippings, letters, photos, and (more gruesomely) all manner of potential Victorian
era murder weapons: a barber's razor, leather knife, butcher knife, axe, etc.
There's a mannequin of a Victorian era prostitute and one of a Victorian gent
in top hat and opera cap. There are a few tourists milling around, getting their
pictures taken with the dummies. KATE is sitting somewhat uncomfortably at the
bar. NIGEL is seen buying a couple of Jack the Ripper books and souvenirs. JORDAN
and WOODY are taking in a display of souvenirs with great amusement. There are
t-shirts and sweatshirts with the pub's logo. At the end, there is a baby onesie
and baby bib with "The Saucy Jack" on it – and a picture of
a knife dripping blood.
| JORDAN |
| Just the thing to bring home for Madeline… |
They eyeroll and cross to the bar.
NIGEL
(to the gang) |
| Now…East Enders don't always take to outsiders, and the accent can
be a bit impenetrable to unaccustomed ears. They also speak a local patois
– a sort of rhyming slang. Better let me do the talking. |
KATE
(ignoring NIGEL, to BARTENDER) |
| Excuse me! |
CUT TO:
BARTENDER, a burly Cockney, who is leaning over the bar reading the sporting
news.
BARTENDER
(back to KATE and the gang) |
| Blimey. Looks like the septic tanks want some kitchen sinks. |
| KATE |
| Yeah, whatever. Can we get some drinks? |
BARTENDER
(teasing the American) |
| Oi, bit of a Lionel Richie, aren't you? You're a right Richard the Third,
though. Nice pair of Bristol Cities, too. So, what can I get for you, me
rubber glove? |
WOODY
(whispering) |
| Was that English? |
| KATE |
| Two Forsyte Sagas, a Richard Gere, and a red Calvin Klein, thanks. And
if you don't take your eyes off my Bristol Cities, I'll knee you in the
Niagara Falls so hard you'll be singing soprano for the rest of your life. |
BARTENDER
(with a certain amount of admiration) |
| Two lagers, a German beer, and a red wine coming right up. |
The others look at KATE, dumfounded.
KATE
(to the others) |
| What? I spent a semester abroad when I was in college. |
JORDAN
(to the BARTENDER) |
| Quite a place you got. |
| BARTENDER |
| Tourists seem to like it. Especially now, around Halloween. See any other
pub in Whitechapel open this late on a Sunday night? A hundred years on,
and people are still talking about some geezer who did nothing but kill
a bunch of brass flutes. |
| NIGEL |
| Actually, that's what we're here for. The Jack the Ripper walk. |
| BARTENDER |
| Which one? There's two comes through here. Donald Pegg and some other
bloke. |
NIGEL, a flash of recognition, holding up a book he's just bought
| NIGEL |
| "In the Ripper's Shadow" by Donald Pegg! |
| BARTENDER |
| Yeah, used to be at Scotland Yard or something. The other bloke, Simon.
An actor, so he says. Out of work actor, more like. Bit of an elephant's
trunk, if you know what I mean. |
BARTENTER mimes throwing back drinks.
| BARTENDER (cont’d) |
| Don't waste your money on him. |
BARTENDER hands them their drinks and heads off to the back room. Lurking in the
background, we see SIMON, who is dressed in a Sherlock Holmes-style deerstalker
hat and cape. He approaches them. He speaks in kind of an exaggerated upper-class,
stagey British accent, with lots of rolled "r's."
| SIMON |
| I understand you're interested in a guided Jack the Ripper walk? |
| NIGEL |
| Are you Donald Pegg? |
SIMON
(not committing one way or another) |
| I am…the world's foremost Jack the Ripper authority. |
He takes a little theatrical bow.
| NIGEL |
| We'd like to take the tour. If you have room for four… |
SIMON looks around the pub. We see that the pub is now empty except for them.
| SIMON |
| I think I can fit in the four of you. That's £6 each, please. |
The gang rummage for their money. SIMON quickly grabs it from them and stuffs
it in his pockets.
| SIMON (cont’d) |
| Shall we? Step quickly, please. We have much ground to cover. |
He tries to usher them out the door as fast as he can, and we see the reason for
his haste. The door to the pub opens, and a stream of tourists enter. They all
are chatting happily about the great tour they've just been on. They are followed
by DONALD PEGG. He is tall, handsome, 50ish, dressed in a tweed jacket. He looks
like a college professor. Think Giles from Buffy. They face each other
off and there is clearly no love lost between these two.
| DONALD |
| Off again, I see, Simon. |
SIMON
(muttering) |
| Good evening, Donald. |
Puzzled, NIGEL gets a sudden "AHA!" look and turns over to the back
of his new Ripper book, where there is a picture of the real DONALD.
NIGEL
(to SIMON) |
| You said you were Donald! |
| SIMON |
| I didn't say I was Donald. I just didn't say I wasn't Donald. |
| DONALD |
| Simon, really. Cheating the tourists reflects poorly on all of
us in this business. |
SIMON
(to the gang) |
| You've already paid. I'm not giving you your money back. |
DONALD
(to the gang) |
| I assure you most of us in this rather peculiar business are completely
reputable. Here's my card. If you're interested in a real tour of the crime
scenes, and not just scary voices and silly hats, please call me. I'd be
happy to arrange for a private tour. |
He holds the card up and offers it to JORDAN with a smile. She takes it, and
returns the smile as she and the others leave the pub.
9. INT. MORGUE – BREAK ROOM – NIGHT
| GARRET |
| What are you talking about? They flew to London… |
| BUG |
| No, I mean the dead bodies. It’s Halloween, we never have a quiet
Halloween. It’s even a full moon. Where are all the crazies? |
| SIDNEY |
| Huh! He's 3000 miles away right now. |
He gives a self-satisfied smile
GARRET
(chuckles) |
| It is going to be nice not hearing which planet is in
retrograde. No conspiracy theories, no extra-terrestrial pirates, no chief
ME wannabes. Woody gets to put up with them all tonight. (stretches) Nothing
but a full moon, a bunch of trick-or-treaters and a few drunks. |
CUT TO:
10. INT. MORGUE – FREIGHT ELEVATOR – NIGHT
Freight elevator, opens, two orderlies and DET. SEELY bring out a gurney.
SIDNEY
(walks over to them) |
| I got this one. |
| SEELY |
| Meet Norm DuPree. Landlord found him in his apartment. Guess he didn’t
see the old guy for few days, and went to check on him. Found him still
sitting in an easy chair. No signs of foul play. He’s all yours, I
got a nephew I’m stuck with tonight. If anything interesting comes
up, call. Soon. Please! |
SIDNEY
(dry tone) |
| Have a good one! |
| SEELY |
| Yeah, right. Snot nosed little spoiled brat… (stalks away to the
elevator) |
SIDNEY wheels the man into trace
GARRET
(follows SIDNEY) |
| What do we have? |
| SIDNEY |
| Don’t worry about this one, Dr. Macy, it’s probably an aneurysm
or a coronary event. |
SEELY
(returning from reception area) |
| Hey, guys! I just put the landlord in the conference room, I met him coming
up. He doesn’t have much to say (ambiguous smirk), but you might want
to see him anyway. I gotta get going, my sister’ll kill me… |
| GARRET |
| Sidney, you do the initial observations and I’ll go talk to this
guy. If we both work together we can get this one done fast, maybe skip
the autopsy depending on his blood work. |
| SIDNEY |
| Thanks. You know, he looks tired. I mean, death doesn’t exactly
give you the best skin tone, but he just looks worn out. |
GARRET
(looks over at the body with mild interest) |
| Well, get what you can. I’ll see what the landlord has to say. |
GARRET leaves
11. INT. MORGUE – CONFERENCE ROOM – NIGHT
Cut to GARRET in the conference room with the LANDLORD.
| GARRET |
| What time did you find him? |
| LANDLORD |
| It was 5:30, I was just gonna get to supper and the wife reminded me that
she hadn’t seen Mr. DuPree for a few days. Seein’, as it’s
Halloween, she said it would be a good idea to go up before supper and check
on him, just in case he wanted to join the building Trick or Treat team,
at the front door. We take turns, givin’ out the treats so the kids
aren’t runnin’ all over the building. It was the wife’s
idea, she was up late one Halloween chasin’ kids out of the building
when she says, “I have an idea,” she says… |
GARRET
(finally interrupts) |
| Uh…yeah. Just – when did you last see Mr. DuPree… alive? |
| LANDLORD |
| Oh, yeah, he’s always been a night owl, so three nights ago I was
doin’ my last rounds and I noticed the lights still on under his door.
The wife likes to make sure all the tenants are safe and sound, you know,
she’s a good little woman, so I knocked to make sure everything was
alright. He was a nice fellah, we would sometimes chat, so I figured, just
to keep the wife happy, I’d knock and see if he was alright. |
GARRET is now resting his head on his hand, trying to maintain attention
| LANDLORD |
| Well, so I knocked, and he opened the door, and he looked sick. Kind of
white, but he had really dark circles under his eyes. So I said to him,
I said, “Norman! What on earth are you doing up at 3am?” You
know, I like to make sure the tenants are alright, what with the wife worryin’
about them all so much, so he says back to me, he says “Well, thank
you, but I’m just watchin’ a little late night TV.” He
says he can’t sleep, ‘hasn’t slept for a terrible long
time’, he says, and I says to him he’s got to try the warm milk
the wife puts up every night for me. It’s what keeps me sleepin’
regular, I can tell ya! |
GARRET
(quickly, to get a word in) |
| Uh, thanks… thanks for the information. |
GARRET (cont’d)
(weary smile) |
| If we uh, need anything else, we’ll - we’ll be in touch. (Stands) |
| LANDLORD |
| I gotta be gettin’ home, the wife, she worries when I’m away
from the building, especially on a Halloween night. She’ll be sittin’
down on the stoop right now, with the other tenants that’ve joined
her Halloween Trick or Treating, they’ll all be wonderin’ where
I got to. I’ll be gettin’ along now, won’t keep you any
more, you remember I’m always more than willing to help out the authorities,
you know, the wife, she likes me to keep on friendly terms with… |
| GARRET |
| Please! Uh - If you’ll excuse me, I… I have a – meeting…
|
With an even more weary smile, turns to leave
| LANDLORD |
| Why, of course! Don’t let me keep you, sir. I’ll be getting
back to the building, the wife, she’ll be wondering. I hate to frighten
her… |
He keeps talking while GARRET slips through the swinging doors
GARRET takes a dozen or so steps when a distraught man catches up to him, almost
running him down.
| WILLIAM DUPREE |
| Oh, I'm sorry! I am in the right place? |
| GARRET |
| That depends on what you want. |
| WILLIAM |
| I need to see my Uncle Norman. Uh, that’s Norm DuPree. They said
he was here, but I don’t know where to go. |
| WILLIAM |
| Oh, yeah, uh, I - I’m William, his nephew. William DuPree. |
GARRET
(switches to his ‘sympathy’ face) |
| Mr. DuPree, could you please come in here? |
Takes him into his office, closes the door, uses his sympathetic tone of voice
| GARRET (cont’d) |
| Have a seat. Yes, Mr. DuPree, your uncle is here. |
WILLIAM buries his head in his hands
| GARRET (cont’d) |
| I am very sorry for your loss. He was found a few hours ago in his apartment.
We’re investigating the cause of death, but… |
WILLIAM
(looking frightened, but oddly triumphant) |
| Oh, that won’t be necessary. I know exactly what killed him. |
GARRET
(suspicious) |
| What… |
WILLIAM
(very matter-of-fact) |
| It was the DuPree Witch’s curse. It’s been killing us for
five hundred years, and it was Uncle Norman’s turn. Now, it’s
coming after me! Do you know what it’s like to be running from a Witch’s
curse for five hundred years? |
GARRET’s eyes roll and close a little as he turns his back to WILLIAM for
a second on his way to sit down behind his desk
He gives half a tired smirk
| GARRET (cont’d) |
| Why don’t you tell me? |
12. EXT. CHRIST CHURCH SPITALFIELDS – NIGHT
The moon is full, and the sky glows an eerie blue, over the steeple of Christ
Church Spitalfields. The clock on the steeple shows that it is midnight.
CUT TO:
13. EXT. WHITECHAPEL STREETS – NIGHTKATE, NIGEL, JORDAN, and WOODY are
following SIMON through the streets. We can hear his voice, strident and theatrical.
Camera tracks in. We can see their bored faces. NIGEL is particularly disappointed.
| SIMON |
| It was here in this area. Nay! On this very spot! In these mean, cobbled
streets of Whitechapel, where Jack the Ripper claimed his first victim on
August 31st, 1888! Mary Ann Nichols, the poor unfortunate, was found in
the early morning with her throat slit from side to side by a savage left-handed
killer. She was— |
| JORDAN |
| How do you figure that? |
| JORDAN (cont’d) |
| I'm sorry, how do you figure that the killer was left-handed? |
| SIMON |
| Well… her throat was cut… |
He has dropped his voice to a conversational pitch. He stops himself and resumes
his theatrical tones.
| SIMON |
| Her throat was severed from right-to-left, clear down to her vertebrae!
She was – |
SIMON
(temper rising) |
| What is it that you don't get, madam? |
| JORDAN (cont’d) |
| How do you get that he was left-handed from the fact that her throat was
cut from right to left? |
| SIMON (cont’d) |
| He would have cut her from behind so as to avoid being splattered with
the dying woman's blood. |
He demonstrates, mimes holding a woman from behind and cutting her throat from
right to left with his left hand.
| SIMON (cont’d) |
| Therefore, he must have been left-handed. As I was saying, she was— |
| KATE |
| Well, not necessarily. |
CUT TO:
a shot of the boys, who are slightly embarrassed.
| KATE |
| He could have strangled his victims first, laid them on the ground, and
then cut their throats with his right hand from right to left. |
| JORDAN |
| If the victims were already dead, there wouldn't have been much blood. |
| KATE |
| So, you really can't conclude on the basis of the cut alone whether the
killer was left-handed or right-handed. We'd need to know actual cause of
death… |
| KATE |
| …the killer's position relative to the victim's body… |
SIMON is completely red in the face. When he speaks, he has lost his posh theatrical
accent and speaks in a thick working class accent.
| SIMON |
| Look, if you think you're so smart, then you can bloody well do the tour
yourself! What do you need me for? I'm off! |
He storms off and rounds the corner.
| NIGEL |
| Now you've done it, you two… |
| KATE |
| He's not leaving with my £6.00! Hey! Hey, I want my money back! |
They take off around the corner, but SIMON is nowhere in sight.
They look up and down the darkened street, with absolutely no idea where they
are.
| WOODY |
| Anybody happen to remember the way back to the pub? |
14. EXT. ANOTHER PART OF WHITECHAPEL – NIGHT
WOODY, NIGEL, KATE and JORDAN are stumbling down a narrow street. It is quite
dark, and the narrow, jumbled streets are deserted. The come to an intersection
and stop.
| JORDAN |
| I think we've already been down this street. |
| KATE |
| I can't see a thing. |
WOODY pulls a keychain out of his pocket. It has a small penlight on it.
| WOODY |
| What's the Boy Scout motto? "Be prepared"! |
He switches it on. Not terribly bright. The penlight, that is, not WOODY.
WOODY
(ignoring her, to NIGEL) |
| Which way? |
| KATE |
| I thought you were a native. Knew these streets "like the back of
your hand." |
JORDAN points to a sign on the street corner with an arrow pointing to the tube
station. The path will lead them down what looks like a very narrow and dark alley.
| JORDAN |
| Look, the tube station is that way. I say we forget about the pub and
just call it a night. |
| NIGEL |
| Oh, ruddy hell, I'll give you £6.00! |
| WOODY |
| Don't make me turn this minivan around, you two. |
They start heading down the alley.
| JORDAN |
| We have been this way before. During the walk. It's the site
of one of the Ripper murders. The body was found down there. |
JORDAN points to the end of the alley. WOODY shines his little penlight. There
is something there, a mass, lying on the ground.
| WOODY |
| Jordan…is that what I think it is? |
| KATE |
| Probably just a drunk. |
| WOODY |
| A trick-or-treater? |
| NIGEL |
| Or a re-enactment? Part of the walk? |
They all look at each other. Instinct and experience tell them that isn't what
it is at all. They hurry down the alley toward the body. They kneel down beside
it, and WOODY shines his penlight onto the victim's face. It is a woman, here
eyes staring up unseeingly, her throat cut from side to side…
END OF ACT ONE
ACT TWO
15. EXT. WHITECHAPEL MURDER SCENE – NIGHT
At the murder scene. JORDAN, KATE, NIGEL, AND WOODY are inside the police tape,
watching four men take pictures and prepare a body bag. One of the detectives
walks over and addresses the four of them.
INSPECTOR
(crisp, ‘Queen’s English’ accent) |
| Excuse me, ladies and gentlemen. Would you be so kind as to step behind
the tape? This is a crime scene, you know, and we must keep civilians away
from crime scenes, I’m sure you understand. |
He gives her a condescending smile, but JORDAN doesn't budge.
| JORDAN |
| Excuse me, we found this body, so someone ‘behind
the tape’ is supposed to talk to us. Besides, we’re not civilians,
we are a detective, two medical examiners and a professional criminalist! |
NIGEL steps forward with a friendly hand extended
| NIGEL |
| Nigel Townsend, mate, formerly of London, now I work with these yanks
in Boston… |
INSPECTOR looks down his nose a wee bit, takes NIGEL's hand and shakes it weakly.
| INSPECTOR |
| I am very sorry, but one must follow protocol, mustn’t one? It’s
jolly good that you’ve got American friends, ‘mate’. .
. |
He speaks it like it’s a word that tastes bad
| INSPECTOR (cont’d) |
| . . . but you do understand we have a rather important job. It wouldn’t
do to have foreigners meddling with these affairs, now would it? Why don’t
you return to your comfortable lodgings? We’ve taken your initial
statements, and we have your names and numbers. If we find we’re needing
anything else, we will ring you up. (condescending smile) Good day. |
He’s holding up the police tape for them
| KATE |
| Who do you think you… |
WOODY puts a hand on JORDAN's arm, but she ignores it.
| JORDAN |
| What the hell? We found this body! We were on a Jack the Ripper walk when
we discovered her. Female, between 20 and 30, throat cut from side to side
in a copycat version of Jack the Ripper. The cut is so deep the murder weapon
probably nicked the vertebrae. The amount of blood indicates that she probably
bled out right here. Was she a prostitute? That would follow the Ripper
pattern. |
| INSPECTOR |
| Yes, miss, this unfortunate girl was well known to local constabulary. |
He’s more firm, but still has a maddeningly polite tone
| INSPECTOR (cont’d) |
| I do hope you enjoy your stay on this side of ‘the pond’.
Good day. |
| KATE |
| Come on, Jordan, these people are clearly not interested… |
| JORDAN |
| It’s Doctor. Dr. Cavanaugh. And if that is your responding medical
examiner, you may want to keep me around. |
She watches the ME with disgust as he zips the body bag. He’s just not thorough
enough for JORDAN’s practiced eye. She finally climbs under the tape, where
the others have been waiting
| INSPECTOR |
| Doctor. I say, you must realize this is England, and not America. Our
“coroner” is quite well trained and experienced. We’ve
no need of Americans ‘saving the day’, thank you. We have sufficient
law enforcement here – indeed, we have had since quite before your
country was even founded. I think we are capable of handling our own murders.
Thank you for your interest. Good day! |
He turns and walks away
| NIGEL |
| Don’t waste your breath, Luv, Inspector ‘High and Mighty’
has ‘important work’. Probably needs to make sure all his detectives
have nice clean pocket handkerchiefs to keep up proper appearances… |
WOODY
(Looks at JORDAN) |
| I know that look. You need to remember that we aren’t
even in our own country. It’s not our case. Let’s go. |
| JORDAN |
| But look, they’re not examining her at all, they’ve just scooped
her up and thrown her into a bag! How do they expect to get a conviction
with that kind of investigation! |
NIGEL
(lowers voice) |
| I’ve a friend over at Scotland Yard. I should be able to get some
information. |
| JORDAN |
| I can already tell how this one’s going to turn out, and it won’t
be good. |
JORDAN spins around in a huff to stalk away.
KATE
(smirks) |
| Uh, Jordan? It’s the other way. |
WOODY rolls his eyes, puts his arm around her shoulder as they leave, JORDAN clearly
ticked off and looking over her shoulder. Last shot is INSPECTOR High and Mighty
looking at them like a bad smell.
16. INT. MORGUE – AUTOPSY – NIGHT
GARRET’s office. GARRET behind his desk, hasn’t moved an inch but
looks incredulous at what he’s hearing. WILLIAM DUPREE is on the edge
of his chair, eagerly explaining the ‘curse’.
| WILLIAM |
| It was the early 16th Century, around 1532 although some think it was
a little more like 1543, when a witch cursed my ancestor, Germain de Prierre.
He was a landowner, really well off. Unfortunately for my poor family, old
Germain was greedy. Legend has it that the De Prierres were always kind,
benevolent masters, but Germain was different. The peasants on his land,
he never let them rest! |
He pauses to look pathetically sympathetic
GARRET even more incredulous, the poor acting really getting to him
| WILLIAM |
| When he forced the poor souls to work on the Sabbath, one of the women
finally lost it. Turns out, she was a witch, and she cursed Germain de Prierre,
and all his heirs after him. |
dramatic pause…
GARRET smiles but it doesn’t reach his eyes, takes hand out from under
chin, folds hands on desk, and sits, quasi-patiently
| WILLIAM |
| The hag spoke sleeplessness onto my family, said we’d know no rest.
Now, the heir of Germain de Prierre is lucky if he makes it to forty years
old. He dies of insomnia, after twelve months with absolutely no sleep and
extreme exhaustion. It’s happened to almost every heir of Germain,
even some of the others in the family. They changed the family name in 1834,
hoped the curse would disappear, I guess. But you can’t just change
a name and escape something like that. I’m next. That’s why
I never married, you know, I couldn’t put a woman through that. (romantic
sigh) |
GARRET’s in the same position but his body is a little closer to the desk
now. His hand reaches for his old mug in the drawer where he used to keep his
whisky. It rests on the handle a moment and then he very deliberately draws it
back when he remembers he’s a recovering alcoholic…
| WILLIAM |
| Or kids! I’m the last DuPree, so I decided I’d end the curse.
Only way I knew how to do it was to be the last one. It was a difficult
decision, but it’s a burden I have chosen to rid the world of this
wretched curse! |
GARRET
(a little patronizing) |
| Well. Mr. Dupree. I, uh, that’s an interesting, history. It’s
just not… we don’t… well, as a medical examiner, I’ve
never listed that as cause of death. |
He offers a comforting, if a little patronizing, smile
| WILLIAM |
| I know. It isn’t a rational explanation, I almost didn’t believe
it myself until I watched my father die. He just sank further and further
into himself until his body couldn’t stay awake for one more second. |
| GARRET |
| I’m not trying to belittle your family or your beliefs … |
| WILLIAM |
| That’s when his little brother, Uncle Norman became the heir. Now
me. |
GARRET, in a careful tone of voice, obviously doesn’t believe a word but
trying to be polite
| GARRET (cont’d) |
| I need you to remain calm and wait until the autopsy gives us the scientific
cause of death in your Uncle’s case. |
| WILLIAM |
| I wish it were that simple. |
He gives a look of melodramatic woe
| WILLIAM (cont’d) |
| We all have healthy hearts, lower than average blood pressure, we’re
not weak. Besides the insomnia, we’re very strong people. |
| GARRET |
| Mr. DuPree, go home. Get some rest. I promise I’ll call you. |
| WILLIAM |
| You will call me right away? |
Shakes GARRET’s hand before he leaves
| GARRET |
| As soon as I know anything. |
Last shot is GARRET looking tired of this lunacy, almost wishing NIGEL were back
to handle this guy
17. EXT. LONDON – DAY to EVENING
There are several shots of London government buildings in Whitehall, 10 Downing
St., House of Parliament, to indicate the gang's meeting with the Home Office
and the passage of a day.
CUT TO:
18. EXT. LONDON HOTEL – NIGHT
The gang's hotel in London.
19. INT. WOODY & NIGEL'S HOTEL ROOM – NIGHT
WOODY and JORDAN enter carrying plastic bags of take-out food. They put the
bags down on the desk and JORDAN starts to unload.
| JORDAN |
| One lamb rogan josh, one mild vegetarian curry, and one chicken vindaloo.
Watch the vindaloo. It's insanely hot. |
JORDAN hands WOODY a Styrofoam takeout container, and he sits on his bed. She
sits on the deskchair.
| JORDAN |
| God, I thought that meeting would never end. Eight hours with the English
aristocracy. I've never been in a room with so many weak chins. |
| WOODY |
| Amazing what five centuries of inbreeding can do to a gene pool. |
| JORDAN |
| Bureaucrats and bad takeout. This wasn't quite what I had in mind when
I said I wanted to travel more. |
WOODY
(with boyish enthusiasm) |
| It would be nice to wake up in my own bed for once…but it is cool
when customs needs to look to find a clean page on my passport. |
| JORDAN |
| So, what are you up for tonight, Mr. World Traveler? We could do the Eye. |
| WOODY |
| Mmm. Nah. Nigel is going out with some old friends, so we have the room
to ourselves. Eat a little curry, watch the BBC… |
He smiles enticingly. We hear KEYS in the door, and NIGEL enters.
| JORDAN |
| Hey, Nige. You hungry? |
| NIGEL |
| No, can't stop. Last night in London, so I'm meeting up with some of the
lads. I just came to drop off…this. |
He pulls a manila folder from behind his back.
| NIGEL |
| My mate at Scotland Yard came through. Photocopies of the file from the
murder last night. |
JORDAN eagerly rushes over and opens the file.
| NIGEL |
| No one is coming right out and saying it, but…M.O., victim, location.
It all points to a copycat. They're keeping it hush-hush for now. Don't
want panic in the East End, do we? |
JORDAN
(to WOODY) |
| Do you think you could make some calls, flash your badge… |
| JORDAN |
| Oh, come on, Woody! This is huge! We've got a chance here to bag this
guy! |
| WOODY |
| You heard what Inspector Tea and Crumpets said. I'd like to go home tomorrow
without having caused an international incident. Besides which…I don't
like the idea of you running around the East End chasing Jack the Ripper
version 2.0! |
| JORDAN |
| Okay, okay, okay. Fine! |
JORDAN and WOODY trade hostile looks. NIGEL suddenly feels uncomfortable.
| NIGEL |
| I should…go. Don't wait up. 'Night. |
NIGEL exits. JORDAN and WOODY regard each other in an uneasy standoff.
| JORDAN |
| I'm not going to do anything stupid. Scout's honor. |
She holds up her hand in an attempt at a Scout's honor salute – but it ends
up looking more like the Vulcan salute. WOODY gives a bit of an eyeroll and fixes
her fingers.
| WOODY |
| Okay…I'm just going to wash up before we eat. |
WOODY crosses to the bathroom. After he goes, JORDAN notices the Ripper book on
NIGEL's nightstand. She flips it over to the picture of DONALD. She thinks for
a moment then reaches for her purse and pulls out DONALD's card and her cell.
She dials the number and speaks in low tones so WOODY won't hear.
| JORDAN |
| Hi. Is this Donald Pegg?...This is Jordan Cavanaugh. We met last night
at the Saucy Jack and you gave me your card…Yes, that's me…Well,
the rumors are true. There was a murder. Listen, I was wondering if we could
meet. I'd like to ask you some questions about the Ripper murders, if you
wouldn't mind…Now?...Sure why not? I can be there in about half an
hour…Great. I'll see you there. |
JORDAN hangs up the phone, looking a bit guilty. WOODY exits the bathroom. JORDAN
sits silently for a moment while she makes a decision. And then:
| JORDAN |
| Hey, you know…my stomach still hasn't recovered from this morning's
full English breakfast. I think I'm just going to run down to the corner,
buy some Pepto, and hit the hay. |
| WOODY |
| Tell you what. You go get into your p.j.'s. I'll run to the drugstore
and come up and tuck you in. |
| JORDAN |
| No, that's okay. Really. You eat. |
| JORDAN |
| Yeah. The fresh air might help. I'm just going to head to my room when
I get back so… |
WOODY walks JORDAN to the door.
| WOODY |
| All right. Good night, Jordan. |
She gives him a quick kiss and heads out. He closes the door, with a frown and
a slightly suspicious look.
END OF ACT TWO
ACT THREE
20. EXT. THE SAUCY JACK – NIGHT
Establishing shot.
21. INT. THE SAUCY JACK PUB – NIGHT
The camera pans down the wall. We see close-ups of some of the photos, pictures
of the women. It's not pretty.
DONALD
(voice over) |
| They called it the "Autumn of Terror." |
Camera cuts to JORDAN, who is looking at the wall. DONALD is standing behind her.
| DONALD (cont’d) |
| From August to November 1888, he killed five women, maybe more, and terrorized
a city. Some consider him the first modern serial killer. |
| JORDAN |
| And after all this time, they still don't know who he was. |
| DONALD |
| You're a…medical examiner, I believe is the correct term
in the States. I was a profiler with Scotland Yard for 25 years. We both
know all too well that even with every modern advance, crimes still go unsolved,
killers still go free. Imagine what it must have been like in 1888. No fingerprints,
no DNA. The Metropolitan Police never had a chance. |
| JORDAN |
| But there were suspects at the time, right? |
| DONALD |
| Oh, of course. Some of them more credible than others. There was even
a theory that the killer was Queen Victoria's grandson, a ridiculous notion
that has unfortunately been perpetuated in pop culture to this day. The
problem is, and has always been, that the evidence is contradictory enough
that even we so-called "experts" can't agree what it all means. |
| DONALD |
| Eyewitness reports. Forensics. None of it matches. Look here. |
He points to two framed copies of letters on the wall. One is written in very
neat hand-writing, the other is barely legible.
| DONALD (cont’d) |
| Two letters, said to have been written by the Ripper and sent to the press.
This one – witty, charming, educated. He even signs it, "Yours
Truly, Jack the Ripper." This one – angry, illegible, rife with
misspellings. Some say the killer exhibited a degree of anatomical knowledge.
Some disagree. Some say Jack would have been a gentleman. Handsome, charismatic.
Imagine someone like your Ted Bundy. Others insist he would have been a
semi-literate raving lunatic. Was he left-handed or right-handed? Was he
a sexual sadist or was he impotent? The evidence is confounding at times. |
| JORDAN |
| The copycat killer. Why do you think he's doing it? |
| DONALD |
| Perhaps he identifies with Jack or shares the same pathological hatred
of women. Perhaps he is seeking the same notoriety. No one can say. There
is only one thing for certain. On the night of September 30th, Jack killed
a woman – slit her throat – but it is believed he was almost
caught in the act and had to flee before he could cut her any further. Less
than a half hour later he had killed again. This time he was not interrupted.
It was his most gruesome murder yet. Jack, killers like Jack, this new killer
– they don't just stop themselves. They will kill again and again.
Until they are stopped. |
JORDAN looks at all the mementos on the wall, and an involuntary shudder runs
down her spine.
| DONALD (cont’d) |
| Be careful, Dr. Cavanaugh. I know curiosity must get the better of you
at times. It can't be easy for a woman in your field. You feel you have
to prove you're that much better than your male colleagues. But I don't
think you have any idea how dangerous this man can be. |
DONALD gives her a look of warning, and JORDAN smiles wanly.
22. INT. MORGUE – AUTOPSY – NIGHT
GARRET is finishing suturing Uncle Norman. SIDNEY is hanging around, assisting.
| SIDNEY |
| So, is it just me or did this case suddenly get more interesting? |
| GARRET |
| I would’ve sworn I’d find an aneurysm, or clogged arteries…
something. I can’t find any reason for this man to be dead. |
He leans on the table, worried expression.
| SIDNEY |
| You do know that Bug’s the one who jinxed the whole
night. He’s in trace with a vampire right now! (we can see him poking
around a body in a huge vampire cape through the windows) He’s the
one who said it was quiet around here. That’s just opening yourself
up to bizarre stuff like this guy. |
| GARRET |
| You know, Sidney, not believing in a curse kind of means I don’t
believe in jinxes either… |
| SIDNEY |
| What? You don’t think it’s weird that this guy shows up seconds
after Bug said we were having a slow night? We angered the forces of equilibrium
in the universe, and they needed to set things aright by landing a supernatural
death on our doorstep. We shouldn’t have said that stuff about Nigel!
He’s our balance – our yin to the world’s yang. |
| GARRET |
| Nigel got to you, didn’t he? Another one down… |
| SIDNEY |
| But if you think about it logically, there’s always a balance that
is achieved, no matter what the circumstances are. Nigel’s away, so
we needed to balance out our wacko quota. Voila! Mr. DuPree of the Curse! |
| GARRET |
| There is no way I am going to believe that a curse caused this man’s
death. It just isn’t possible! We’ve missed something… |
He rubs the back of his neck
| SIDNEY |
| I’m telling you, you can’t mess around with cosmic equilibrium.
It’s an imperative – the laws of Physics are widely held to
be true, why not something we can’t see? Why not a curse? I mean,
I believe in gravity, just because I can’t see it doesn’t mean
it isn’t there, right? |
| GARRET |
| I don’t believe I’m having this conversation with you, of
all people! I thought you were the level-headed one! The one who’d
do a great job without rocking the boat. Now you’re spouting Nigel’s
drivel about cosmic quota and yang to the yin. What did I do to deserve
you people? |
| SIDNEY |
| It’s the curse, Dr. Macy. There is a curse and this man died from
it. His nephew doesn’t have a chance unless he can bring the great
forces back into alignment. |
| GARRET |
| OK, I’ll be in my office going over these results. |
| SIDNEY |
| Yin Yang, Dr. Macy! |
24. EXT. EAST END STREET – NIGHT
JORDAN, walking down the street. It is deserted. She is walking normally, lost
in thought, when she hears a noise behind her. She stops and looks around. There
is nothing there. She shrugs and walks on, a little quicker this time.
There it is again. Footsteps? She stops and turns around. This time, there
is a shadow, a movement. She heads forward and sees the illuminated sign of
the Underground station ahead of her. If she can make it there –
She hurries on, as the footsteps get louder, closer. She's not going to make
it to the station. She ducks into an alley and presses herself into a dark corner.
The footsteps stop, she jumps out with an elbow and a fist to the stalker's
face. The stalker reels, and JORDAN stands with fists ready for action, until
we see that the "stalker" is, in fact, the snooty INSPECTOR, who holds
his bloody nose and shoots her an angry look while JORDAN swallows hard and
smiles sheepishly.
END OF ACT THREE
ACT FOUR
25. INT. POLICE STATION – NIGHT
A London police station, not unlike an American police station, but perhaps
run with a snappy British efficiency. A room crammed with desks, officers, files.
JORDAN sits at a desk. She's not happy to be there. She is looking quite put
out. From her POV, we see INSPECTOR talking to another officer across the room.
His nose has been taped up. They're both frowning, looking in her direction.
She's being talked about, and she doesn't like it.
INSPECTOR crosses to the desk and begins to fill out some paperwork. He isn't
too happy, either.
| JORDAN |
| Well, the bleeding seems to have stopped, and it’s not broken, but
you’re lucky. |
INSPECTOR shoots her a hard look.
| INSPECTOR |
| And you're lucky you haven't been charged with assault. |
| JORDAN |
| Why were you following me, anyway? |
| INSPECTOR |
| Well, I am the inspector assigned to the case you so fortuitously discovered
yesterday evening. The murder occurred in Whitechapel. This being Whitechapel,
and I being the inspector, one would assume my presence would not be a surprise. |
| JORDAN |
| I wasn't doing anything wrong. I was in a public area… |
| INSPECTOR |
| Once again, my good Doctor, I inspect places and people. You, being unrecognizable
in the gloom, attracted my attention and I merely wished to determine your
identity and purpose for being there, of all places, at this time of night,
of all times. It was for your own safety. |
INSPECTOR walks away for a moment. JORDAN looks up. WOODY has entered. We see
him stop and look at her. If he weren't so angry, he'd laugh. He crosses to her.
| WOODY |
| So, now I’ve sprung your sorry ass out of jail on two continents.
What am I supposed to do, Jordan? You tell me your stomach is upset, next
thing I know I get a call that you’re here. I thought we were working
on something… |
JORDAN
(waving hands as she 'explains') |
| Look, Woody, I was just walking around, minding my own business, (laugh
enters her tone) when somebody starts to follow me, so I had to defend myself. |
She looks at him hopefully
| JORDAN (cont’d) |
| I sure as hell didn’t know it was Inspector Clouseau! It’s
not as if I was endangering anyone or doing anything illegal, I mean… |
INSPECTOR approaches.
INSPECTOR
(to WOODY) |
| Ah, jolly good, I see you’re here to collect our attractive but
vocal guest. If you could be so good as to ensure her safety back to… |
| JORDAN |
| Excuse me! I am right here, and I am an adult. In case you didn’t
notice, Inspector, I did get the drop on you. What kind of cop would let
a civilian woman take him out like that? I was in a public place, minding
my own business… |
WOODY
(anger has won out over laughter) |
| Jordan! I know perfectly well what your business was. And you lied to
me. Come on, I’m sure the Inspector has work he needs to do. |
| INSPECTOR |
| Indeed. We’ve just heard about another, unfortunate incident in
Whitechapel. I am expected to attend shortly. Doctor Cavanaugh, I would
request you keep to your original itinerary on your visit. We are capable,
and doing everything which may be reasonably expected. If you could see
your way fit to allow us to do our job unhindered. |
JORDAN opens her mouth to speak, but closes it again, she looks upset but we’re
not sure with what
| INSPECTOR |
| Very well, my good man, I will leave her in your capable care. Once again
I bid you both good day. |
He leaves, passing closely by WOODY – speaks under his breath to WOODY only.
| INSPECTOR (cont’d) |
| Good luck, old chap. |
JORDAN
(to Woody) |
| I was just asking a few questions, I was walking back, I didn’t
pay attention to where I was going, all right? It’s not as if I stormed
the police station. That guy had no right to follow me! |
Looks at WOODY
| JORDAN (con’t) |
| I know you’re probably upset, but these girls deserve a voice. |
| WOODY |
| They have a voice. These are professionals, and they’re doing a
great job. |
Looking intently at her, waves his head toward the door.
He turns to leave
JORDAN looks at WOODY for a second, then silently follows.
26. INT. MORGUE – GARRET'S OFFICE – NIGHT
GARRET behind desk, WILLIAM seated in front
| GARRET |
| Mr. DuPree, I’m… at a loss. We performed a full autopsy, but
we still haven’t found a cause of death. |
| WILLIAM |
| I told you, it’s the DuPree curse! We have descriptions of these
deaths all the way back to 16th Century France. They stop sleeping, they
suffer for a year or so, they die. |
| GARRET |
| Look, Mr. Dupree, I know this is real to you. In your position, I’d
probably believe the same thing. But I’m a scientist. My job is to
find the scientific explanation behind all the – the – unexplained
phenomena I come across. There is a scientific cause of death, a –
a ‘smoking gun’. And we’ll find it. Now, are you sure
you’ve told us everything? |
| WILLIAM |
| Dr. Macy, there is no smoking gun… |
Half laughs, looks at GARRET with sympathy, he clearly doesn’t ‘understand’
GARRET delivers his patent half smile
WILLIAM
(looks at GARRET for a moment) |
| Alright. I’ve already told you pretty much all we know. My dad and
Uncle Norman both suddenly stopped sleeping. They weren’t depressed
or sick. One day they were fine, the next they were sweating like crazy
and they stopped sleeping. Simple as that… |
| GARRET |
| Wait… sweating? You never said anything about sweating before. |
| WILLIAM |
| What, is that important? |
| GARRET |
| It could be. There weren’t any other symptoms? |
| WILLIAM |
| No, just crazy sweating before they stopped sleeping. |
GARRET rubs face with hand, talking to himself
He stands suddenly
| GARRET |
| Wait here. I have an idea, but I’ve got to check something…
It’ll only take five minutes. |
He leaves, WILLIAM looks a little lost
27. INT. WOODY & NIGEL'S HOTEL ROOM – NIGHT
The room is empty. We hear a key in the lock, the door opens, lights go on.
WOODY enters first. He's not happy. He sits on his bed and begins to kick off
his shoes, unbuttons his shirt. JORDAN follows him. She stands uncomfortably
in the center of the room, trying to think of ways to jolly him out of his bad
mood.
| JORDAN |
| So, I guess now would be a bad time to ask if you wanted to do the London
Eye thing. |
WOODY
(tersely) |
| I'm tired, Jordan. I'm going to bed. |
Beat. She'll try a different tack.
| JORDAN |
| You've got to admit. It's a little funny. You should've seen that guy's
face when I popped him one. I guess you could say I gave him a stiff upper
bloody lip. |
JORDAN waits for a reaction that doesn't come.
| JORDAN (cont’d) |
| C'mon, it was a joke! Stiff upper…? |
WOODY ignores her.
| JORDAN (cont’d) |
| You're going to have to talk to me eventually. |
WOODY
(erupting) |
| What do you want me to say, Jordan? You told me you weren't going to get
involved, and you did. On top of that, you lied about it! I had
no idea where you were. You could have gotten yourself killed! |
| WOODY |
| You think this is a big joke? I'm supposed to smile and laugh? Oh, Jordan's
just being Jordan. Doing whatever the hell she feels like doing. Again. |
| JORDAN |
| Hey, you knew who I was going into this relationship! You've known me
for almost six years, and all of a sudden you think you can change me? Why
now? |
| WOODY |
| Because before was different, and you know it. Before, I never felt like
I had the right to tell you what to do! |
JORDAN
(flabbergasted) |
| Wh—What? You never had the right to tell me what to do!? |
| WOODY |
| That's not how I meant it! |
| JORDAN |
| I hope not. Because that kind of paternalistic b.s. makes me wonder if
you have the first clue who I am. |
WOODY reaches out for her. He's still mad, but he's trying. She pulls her arm
away and storms angrily out of the room.
28. INT. MORGUE – GARRET'S OFFICE – NIGHT
WILLIAM sitting on the couch now, his fingers steepled in front of his face
which has a thoughtful look. He looks up as GARRET returns and sits on the couch.
Sympathetic look
| GARRET (cont’d) |
| I found the smoking gun. |
| WILLIAM |
| What… what do you mean? |
Looks confused, and upset
| GARRET |
| What your family has is a rare disease called ‘Fatal Familial Insomnia’.
It’s a neuromuscular prion disease, related to bovine spongiform encephalitis
– mad cow disease. It damages the nerves and muscles, and –
it runs in families. It causes the symptoms you’ve described. |
Looks devastated
| GARRET |
| I checked the brain tissue. It was all right there in the microscope. |
| WILLIAM |
| But… it’s always a killer, right? |
GARRET
(sensitive voice) |
| Most of the time, yes, but there is optimistic research being done in
Great Britain. Last I heard there is an experimental treatment that’s
showing promise treating symptoms, keeping people alive. |
| WILLIAM |
| But… there’s no curse? |
| GARRET |
| Nope. (warm smile) Just a disease. Something you can fight. |
| WILLIAM |
| Do… do I have to tell anyone? |
GARRET gives a confused look. Brief pause as he digests this question
| GARRET |
| Uh, what… what do you mean? |
| WILLIAM |
| Dr. Macy, we used to be a moneyed family. |
WILLIAM (cont’d)
(leans back on the couch) |
| Over… Over the years it was – spent – well what would
you do… if… So, we lost our land and our fortune. We changed
our name, which was hard to do. This curse was all we had left. It was…
comforting knowing how you were going to die. My friends really admire my
decision not to have a family, they think I’m responsible. My girlfriend
worships me… What’s left? Nothing… just some mad cow disease.
|
GARRET still can’t believe this guy’s serious
| GARRET |
| It’s not… not the same – just… related… |
| WILLIAM |
| So what? We went from a wealthy family with a curse to a bunch of broke
drunks with mad cow disease. What’ll my girlfriend say? She thinks
I’m so noble for not marrying… |
He stands up, GARRET stands as well
| WILLIAM |
| Um, I left instructions for the funeral home to get Uncle Norman. Do I
have to sign anything? |
Looking increasingly despondent
| GARRET |
| Just… Talk to the lady at the front desk, she’ll set you up. |
| WILLIAM |
| Yes, of course. Uh… I think – thank you, I guess. |
GARRET trying to keep from looking totally disgusted at WILLIAM’s pride
in such a stupid thing. As WILLIAM is leaving, he says:
| GARRET |
| Uh, Mr. Dupree. William – you know, it’s really all about
perception. Some families consider heart disease or cancer a curse. You
don’t really know how your particular family got stuck with this genetic
time bomb… |
WILLIAM
(suddenly brightens up) |
| Yes… Yes! There is a curse! |
Walks back over to GARRET, takes his hand and vigorously shakes it
| WILLIAM (cont’d) |
| Of course, why didn’t I see that! Our witch cursed us with a terrible,
rare, nero-muscleotur… uh, new-row… |
GARRET
(flat vocal expression) |
| Neuromuscular prion disease. Fatal Familial Insomnia. |
| WILLIAM |
| Uh, can you write that down? My girlfriend will want to know… but
I don’t have to tell her that there’s hope, do I? |
GARRET swiftly scribbles on a pad of paper and tears it off, handing it to WILLIAM.
| GARRET |
| No, I suppose you don’t. |
| WILLIAM |
| Thank you, thank you so much Dr. Macy! |
Shakes his hand again, leaves dancing down the hallway
GARRET watches with his mouth open a little, shaking his head
| GARRET |
| Oh. My. God. And I didn’t want Nigel to be here for Halloween…
|
Rolls his eyes
FADE TO BLACK
29. EXT. CROWN & ANCHOR – NIGHT
Establishing shot.
30. INT. CROWN & ANCHOR – NIGHT
JORDAN walks into the pub, still seething. From her POV, we can see KATE sitting
at the bar. KATE sees her and nods in her direction. JORDAN crosses and sits
next to KATE at the bar without a word. KATE nods at the bartender and signals
him to give JORDAN a beer. Bartender pours her a pint, and JORDAN pulls out
her wallet.
JORDAN sips silently at her beer as KATE regards her out of the corner of her
eye.
| KATE |
| You wanna talk about it? |
JORDAN takes a big swallow. KATE shrugs. No skin off her nose. There's a silence
while JORDAN drinks in moody silence. Then:
JORDAN (cont’d)
(bursting forth) |
| Where does he get off? What, he thinks he owns me? |
| KATE |
| I'm assuming the antecedent of "he" is Woody. |
| JORDAN |
| How is it that you can know someone for years, and then you get into a
relationship and bang – they think they can rewrite who you
are? |
| KATE |
| Hey, I'm the last person you want to come to for relationship advice,
but it seems to me promising your boyfriend something, then breaking that
promise and lying about it? Pretty good justification for the boyfriend
getting his knickers in a knot. |
| JORDAN |
| It's 2007, not 1888. I'm a grown woman. Who does he thinks he is telling
me what I can and can't do? |
| KATE |
| Did he tell you or did he ask you? |
JORDAN squirms a bit.
| KATE (cont’d) |
| Look. I don't know Woody all that well. He seems relatively normal, and
I guess he's cute in an "Opie" kind of way, even if the bad puns
would have me heading for the hills inside a week. I don't know what makes
him tick – it could be he gets off on all that macho crap. Maybe he
feels like he's got to play alpha male. Or maybe |
Her voice softens. JORDAN turns to her.
| KATE |
| Maybe he just thinks you've both lost too many people you care about lately. |
KATE gives her a bit of a rueful smile. JORDAN contemplates what she's said. Then
her cell phone rings. She takes it off the clip, but she doesn't recognize the
number.
| JORDAN |
| Hello? Hel-…is someone there? Hello? Donald? I can barely hear you…The
Saucy Jack? All right…Hello? Hello? |
She frowns and flips the phone shut.
| KATE |
| What was that about? |
| JORDAN |
| I'm not sure. Bad connection. It must have been Donald Pegg. He wants
to meet at The Saucy Jack. |
| JORDAN |
| Yeah. Just for a few minutes. It'll be fine. |
KATE can't betray a look of disapproval.
JORDAN grabs her bag and heads out of the bar, while KATE shakes her head and
watches her go.
31. EXT. SAUCY JACK PUB – NIGHT
It is dark, and the bar's lights appear to be out. It's looking pretty closed.
JORDAN approaches from down the street and slows as she arrives in front of
the pub. She looks around. Why is it so dark? She pulls at the door, half expecting
them to be locked, but it opens. Her face registers some surprise and she steps
inside…
32. INT. SAUCY JACK PUB – NIGHT
JORDAN heads inside. The pub is dark.
